More than 20 years ago, Gab Olivier started his career as a DJ. Weedling his way into the club circuit from “rude mobile gigs”. However, there are only so many times you can play ‘Oh What a Night’ and Gab was on the verge of giving up DJing when, in 92, he was exposed to progressive music. He was hooked straight away.

Production

Since that moment in 92 when he realised that there was more to DJing than just party music, Gab Olivier has pushed the boundaries of both production and DJing. His first record, ‘Chrome’, written with CJ Dolan(a.k.a Quench), even had Sasha running up to the DJ box to see what it was and if that’s not a big enough compliment, what is?

From ‘Chrome’, Gab and CJ moved on to release ‘Blue/12 Miles High’ on the Zero Tolerance record label in 1999, which was quickly snapped up by Platipus for world -wide release. ‘Blue’ featured on Sasha’s San Francisco Global Underground and ‘12 Miles’ on Anthony Pappa’s ‘Renaissance Presents’, proving that as a producer, Gab was far more than a one hit wonder. The equally devastating ‘Conditions’ release then made its way onto Pappa’s Global Underground Nubreed release and once again was signed to Zero Tolerance which has been Gab’s home ever since.

Zero Tolerance is quite easily one of the most successful Australian record labels, winning the praises of DJs and producers right around the world. In many ways and in many forms, Gab Olivier has been the cornerstone of Zero Tolerance.

Apart from his work with CJ Dolan as Narcotik, Gab Olivier has teamed up with Ivan Gough as Deep Funk Project to release the subtle brilliance of ‘2 Heavy’ and a swathe of other tunes that have made their way into the record boxes of the world’s leading DJs. Gab’s collaboration with Jason Digby has been equally successful with ‘Oracle’ being signed to Dave Seaman’s label Therapy and earning a berth on Dave’s Renaissance album ‘Desire’ in 2001. Their follow up track ‘Human’ also attracted much attention in the UK by featuring in 7 magazine’s ‘Buzz Chart’ and being dubbed ‘One To Buy’ in Mixmag. Mid 2001 saw Gab begin working in the studio with youngsters Jono Fernandez and Kristo. Their unique blend of experience and youthful enthusiasm is already yielding some very positive results.

Despite being one of the most, if not the most successful dance producers in Australia, Gab still sees a long road ahead of him. “It’s taken a long time to get the sound right and I think over time, I can perfect it even more”. Like his music, Gab’s attitude towards success is a little different to the average producer; “A record doesn’t have to go to number 1 to be a success. If it is appreciated and goes somewhere different to other music that’s out there, that’s as good as number 1 to me.’

DJing

Gab Olivier carries the same qualities that have distinguished his production across into his DJing. Namely, a profound understanding of deep sounds and an attention to detail that elevates whatever he does way above the mediocre majority. If anything, Gab’s reputation has been crafted on an ability to challenge crowds and open them up to new sounds and feelings on the dancefloor. This trait he mastered way back in the early 90’s when over a year he took St Elmo’s in Melbourne from being a party music club to a crowd that couldn’t get enough new music over a marathon 7 hour set.

Melbourne’s legendary ‘Sunny’ nights (originally known as ‘Sunny Side Up’) have been the flagship for deep music in the city and Gab’s residency has seen him consistently at the helm. His blend of dark subtle sounds has devastated packed Sunny dancefloors time and time again, as well as drawing scores of trainspotters to the console, eager to get a close up view of Gab driving the crowd into a frenzy.

While he may be one of the most accomplished people in the Australian dance scene and indeed the world dance scene, Gab Olivier remains humble and approachable about what and how he does what he does. When talking to Gab for just 5 minutes it’s easy to see the unique perspective and passion that has guided him towards such success. The best thing is that he’s done it all for the right reasons, ‘It’s simple,’ he says, ‘if it’s not fun I won’t do it.’